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Sahitya-kaumudi by Baladeva Vidyabhushana

by Gaurapada Dāsa | 2015 | 234,703 words

Baladeva Vidyabhusana’s Sahitya-kaumudi covers all aspects of poetical theory except the topic of dramaturgy. All the definitions of poetical concepts are taken from Mammata’s Kavya-prakasha, the most authoritative work on Sanskrit poetical rhetoric. Baladeva Vidyabhushana added the eleventh chapter, where he expounds additional ornaments from Visv...

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यो� आद्य-तृतीयाभ्याम् अन्त्ययो रे� तुल्ययोः �
टादि� �-सौ वृत्ति-दैर्घ्यं गुम्� उद्ध� ओजसि � �.७५ �

yoga ⲹ-ṛtī峾 antyayo ṇa tulyayo� |
ṭād� śa-sau[1] ṛtپ-dairghya� gumpha uddhata ojasi ||8.75||

Dz�—the combination; ⲹ-ṛtī峾—with the first and the third; Գٲⲹ�—of the last two (the second and the fourth); ṇa—with the letter r; tulyayo�—of two that are similar; ṭa-徱�—the group that begins with the letter �; śa-sau—the letters ś and s (see the Commentary); ṛtپ—of a compound; dairghyam—lԲٳԱ; ܳ�—the putting together (the ); ܻ󲹳ٲ�—is haughty; ojasi—i ojas (vigor).

The construction of ojas is as follows: The first phoneme combined with the second, the third phoneme combined with the fourth, any combination of a consonant with the letter r, a combination of two similar consonants, the phonemes of the ṭa group, as well as ś, , long compounds, and formidable phonetic combinations.

varga-prathama-tṛtīyābhyām antyayos tad-屹īⲹ-caturthayo� krameṇa Dz�. yathā, “첹ṭī utthāna� kakup-phaṇa� rug-� ujjhita� tad-dhavi� ab-�.� repheṇa Dz�. sa cādha upary ubhayatra vā yasya kasyāpi. yathā, “vakra� arka� durgraha�.� tulyayor yogas tena tasyaiva. yathā, “�-ⲹ�, sac-cit, ṅgṭṭ�, mattaḥ� ity ādi. ṭādir gaṇa� ṭa-ṭha-ḍa-ḍha-rūpa� śa-sau ceti varṇāḥ ī-samāso vikaṭa-saṅghaṭanā[2] caujasi.

Examples of the first phoneme combined with the second and of the third phoneme combined with the fourth are: 첹ṭ� (the name of a particular female monkey) (kkh), (towards) (cch), ܳٳٳԲ (raise) (tth), 첹ܱ-ṇa (the serpent’s hood in the sky) (pph), rug- (laughing with pleasure) (ggh), ujjhita (abandoned) (jjh), tad-dhavi (the oblation of that) (ddh), and ab- (the weight of water) (bbh).

There is a combination with the letter r. This means there is a combination of any consonant whether after r, before r, or both before and after r. For example: vakra (crooked) (kr), arka (sun) (rk), and durgraha (obstinacy) (rgr).

There is a combination of one consonant with itself. For example: - (the effect of speech), sac-cit (existing consciousness), ṅgṭṭ (clash), matta (mad; intoxicated), and so on.

The group in which the first is (ṭād� = 徱� ṇa�) is the form of �, ṭh, �, and ḍh.

There is also ś, and . This completes the list of phonemes. There is a long compound, and the phonetic construction is formidable (haughty, intense, harsh).

Commentary:

A long compound is expressive of ojas by reverse logic, since uncompounded words are easy to understand and thus evoke sweetness. A long compound adds force like a military march adds momentum. Still, the poetical rhetoricians� addition of the style of compounding to the construction of the ṇa was completely arbitrary. ĀԲԻ岹󲹲Բ said that long compounds also suitably occur in śṛṅ-, and single words are also appropriate in raudra-rasa and so on.[3] Govinda Ṭhܰ says that, in a play, long compounds are not used, even in raudra-rasa, because the usage of single words produces smoothness (an ease of understanding).[4]

Barring typographical mistakes in the text, Baladeva Vidyābhūṣaṇa says the letter s is suggestive of ojas. However, in the corresponding texts in 屹ⲹ-ś, 󾱳ٲⲹ-岹貹ṇa, and ṅk-첹ܲٳܲ, the letter is seen instead. The letter s is considered a soft phoneme. Baladeva Vidyābhūṣaṇa gave it prominence in his example of ܰⲹ-ṇa (8.22). The adjustment was made in the above translation.

The hard phonemes are: kkh, ggh, cch, jjh, ṭṭh, ḍḍh, tth, ddh, pph, bbh, kk, gg, ṅṅ, cc, jj, ññ, ṭṭ, ḍḍ, ṇṇ, �, ṭh, �, ḍh, ṇṭ, ṇṭh, ṇḍ, ṇḍh, tt, dd, nn, pp, bb, ś, �, k�, śś, ṣṣ, ss, any conjunct where a consonant is conjoined with r whether before or after, and so on. ʲṇḍٲ-Ჹ Բٳ say the profuse usage of the visarga () is part of the construction of ojas.[5]

In the elaboration, the compound sac-cid (real consciousness) is one of many examples of a typical phonetic combination of ojas, because the hard phoneme cc was created as a result of the phonetic combination of sat and cid.

Footnotes and references:

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[1]:

ś-ṣa (屹ⲹ-ś 8.75): This reading is used in the translation.

[2]:

ṅgṭṭnā (屹ⲹ- edition).

[3]:

ܰⲹ-prasādau rasa-bhāvatad--viṣayāv eveti ṣaⲹ-niyamo vyavasthita�, saṅghaṭanāyās tu sa vighaṭate. tathā hi śṛṅgāre’pi ī-samāsā dṛśyate raudrādiṣv asamāsā ceti. tatra śṛṅgāre ī-samāsā yathā �Ի-kusuma-reṇu-piñjaritālakā� iti. yathā vā, “anavarata-nayana-jala-lava-Ծ貹ٲԲ-貹ṣiٲ-貹ٰ-� te, kara-tala-niṣaṇṇam abale vadanam ida� ka� na tāpayati� ity-ādau. tathā raudrādiṣv apy asamāsā dṛśyate. (ٳ󱹲Բǰ첹 3.6)

[4]:

ṇātakādāv abhineye tu raudre’pi na ī-samāsādaya�, vicchedenābhinaya-saukumāryāt (屹ⲹ-pradīpa on 屹ⲹ-ś verse 351).

[5]:

Բ첹ṭyԲ 屹īⲹ-caturtha-varga-ṇa-ṭa-jihvāmūlīyopadhmānīya-visarga-sakārabahulair ṇair ghaṭito jhay-rephānyatara-ṭiٲ-ṃyDz-para-hrasvaiś ca Բ첹ṭyԲ prayuktair āliṅgito ī-vṛtty-ٳ gumpha Ჹ� (鲹-ṅg󲹰, KM pp. 64-65). The jhay ٲ is any mute consonant. Բٳ illustrates the profuse usage of visarga and of its optional replacements: visarga-prācurya� yathā, “sānurāgās sānukampāś caturāś śī-śītala�, haranti ṛdⲹ� hanta kāntāyās svānta-vṛttaya�.� atra ś--dvaya-saṃyogānta� pūrvārdha� mādhuryānanuṇam (鲹-ṅg󲹰, KM p. 70).

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